Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Belarus and from Manila.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1969 to 1971.
I'm losing my edge.
To all the kids in Toronto and Accra.
I'm losing my edge to the art-school Paris kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1976 at the first Chic practice in a loft in New York.
I was working on the mellotron sounds with much patience.
I was there when Holger Czukay started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Gary Puckett & The Union Gap to the electroclash kids.
I played it at the Hacienda.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Cal Tjader. All the underground hits.
All Roxy Music tracks. I heard you have a vinyl of every Slave record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an organ and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Junior Murvin,
Kaleidoscope,
Lucky Dragons,
Pussy Galore,
Blake Baxter,
The Monks,
Roxette,
Lou Reed & Metallica,
MC5,
Vladislav Delay,
Nirvana,
Bauhaus,
Fort Wilson Riot,
Pharaoh Sanders and the Fire Engines,
Moby Grape,
Grandmaster Flash and the Furious Five,
Marine Girls,
Susan Cadogan,
Warsaw,
Sex Pistols,
Jeff Mills,
The Standells,
The Move,
Grandmaster Flash,
OOIOO,
Faraquet,
Intrusion,
Strawberry Alarm Clock,
Mary Jane Girls,
The Index,
The Moody Blues,
Au Pairs,
the Normal,
Harpers Bizarre,
Major Organ And The Adding Machine,
Magma,
Sam Rivers,
Soul Sonic Force,
Cluster,
Joy Division,
Franke,
Easy Going,
The Human League,
The Angels of Light,
Rakim,
Beasts of Bourbon,
Johnny Osbourne,
DNA,
Bootsy Collins,
DJ Style,
Zero Boys,
Aaron Thompson,
Lizzy Mercier Descloux,
Jesper Dahlback,
X-Ray Spex,
Agent Orange,
Ludus,
Andrew Ashong & Theo Parrish,
Gong,
E-Dancer,
The Sisters of Mercy,
Morten Harket, Morten Harket, Morten Harket, Morten Harket.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.